This is the second selection of recordings from Intergalactic FM Streaming Festival 2021, which took part at the end of May. This was is just a part of the recordings that were run continuously for more than a week.Continue reading “Intergalactic FM Streaming Festival 2021 Recordings (Part 2)”
Exhausted Modern’s debut full-length titled The Year of the Rat is a proof of the thought-provocation that author’s name generates. Released on his own Endless Illusion imprint, the album doesn’t have all the answers, it simply offers Exhausted Modern’s perception of the modern times and also the energy to do something with them. The title, borrowed from the Chinese zodiac calendar, doesn’t slip to mere esoteric prognosis, it fittingly and provocatively comments on broken mechanics of society, capitalistic hierarchisation and emotional frustration of its victims. Despite the dystopian character of Exhausted Modern’s sound, which ranges from fast melancholia through suspicious calmness to slowly bubbling rage, it doesn’t feel like the end of the world. It’s critical artistic statement of a person who despite seeing all the darkness, also sees the way out of it.
Poland, early 80’s. Lieutenant Miosz Szwajcer is assigned to the young student’s murder case. Struggling with his personal life and unclear releationship with recently murdered young woman, he tirelessly chases the psychopathic killer. Things are darker than they seem. Strange things soon begin to occur. He must decipher the reality from his delusions, phantoms and supernatural phenomenons. Pieces of the puzzle indicate that the new violent crime is being planned. The race against time is on. Original score from obscure Polish movie ‘Kontury’ (1984), directed by Lucjan Kut. Remastered from the original tapes.
Having collaborated over the years in several projects, Endless Illusion and brokntoys join forces for a trilogy of EPs to showcase unique talent across the globe. Meeting somewhere across both label’s middle grounds, the first volume of Human Abstracts captures an array of international players operating at the fringes of the ‘floor’. Colombian duo Vltra Delta Drive kick off the EP with the tense, body-propelled El Complot. Santoine builds up the drama with the uneasy, percussive Transmission. Closing the Aside, Outermost brings his trademark ominous sounds in Mystic River. On the flip, cult favourite Konsistent weaves narcotic grooves on Paranoid Humanoid. After his knockout contribution for Move’s launch EP, Black Propaganda brings the EP to a close with the utopian Instrument Of Liberation.
Having worked together as “Thrinax” in the past, Prague’s duo Exhausted Modern & Aliver collected their solo material for Endless Illusion’s second white label series. Their complimentary sonic languages speak in slow, percussive rhythms, sadistic, industrial sounds, and uptight bass lines transmitted through a chain of pedal effects. The track “Project Germs – Cuatone” is another one of Aliver’s collaborations.
The second release in Endless Illusion’s series of Split EPs comes from Marcos Cabral & Daniel Araya and features two tracks from each artist. New York’s Cabral is known for his experimental IDM and techno on labels like L.I.E.S. while Daniel Araya has recently released an album of acid, techno and industrial on the Classicworks label. Araya’s ‘We Almost Lost Detroit’ is first and is a truly haunted deep techno cut with sparse acid undulations and a real sense of manic in the rasping synth lines. Softer pads in the background only add to the spooky nature of the track. ‘Ghost Bass’ is the other Araya cut and this one is more up on its toes, with mid tempo kicks down low and wonky chords up top. It’s a mind melting tune that trips deep into the night. ‘Live At The Egg’ is Cabral’s first effort and is a lonely and icy techno track that is supple and seductive in its long lines and paddy drums. After getting you into a state of hypnosis, some freaky vocal sounds only add to the unsettling nature of it all later on. ‘Cuts & Bruises’ rounds things out in squelchy and depraved techno territory. Muted acid stabs are off in the distance as swampy drums suck you in from the front. It’s a brilliantly odd tune that close out a fine EP.
Czechoslovakian band Máma Bubo was founded by Karel Babuljak in 1982; he put together five friends that he trusted. Having been more or less groping in the dark of music until then, Babuljak suddenly expressed a clear musical and human opinion to which the other members of Máma Bubo added theirs. A new band was born and although it had a clear face, it did not fit in anywhere, was hard to be connected with anything, and was isolated despite its openness. Máma Bubo always guaranteed an extraordinary and shocking experience which surpassed the level of entertainment. 1985: Babuljak’s disenchantment with the social situation as well as with artistic futility compelled him to a more profound attitude which resulted in a totally different concept, Planeta Haj, for Máma Bubo; yet, the concept was short-lived as if having been born in a place it did not fit in. In 2017, 2 LP of Planeta Haj, a record from 1985, was released on vinyl for the first time.
As the world collapses, dragging its unwilling inhabitants into insanity, a few things, fortunately, remain true. The man who’s contributed to the development of the JAK sound on behalf of the Nation community from Lake Michigan to the Dutch west coast, where he became well known for several EPs released on Creme Organization Records, is back. After two full-length albums, dozens of EPs and action in the 2AM/FM project, D’Marc Cantu has gained well-earned respect as an underground artist. We are very pleased to bring this little return to the JAK beat style.
Recorded live @ Suicide Circus (Berlin) 06.01.2017
Zarkoff (Sasa Rajkovic) is Croatian musician and sound engineer that has been busy making proper sound of dozens labels and doing his own music last ten years. Genre could be described as dark electronics, somewhere between techno and synth wave, but if there is something that makes him unique, it’s his powerfull and distinctive voice. Sasa is also member of EBM-ish project Sumerian Fleet, having releases on mighty Dark Entries or Creme Organization, where we took the opportunity and asked his colleague, legendary Mr. Pauli to enrich this 12inch with proper west coast style remix.
The Omnibus Band was founded by Jarda Zajpt and Petr Dikan in 1979 in Czechoslovakia. Having met at the Electronic High School, electronics was their field of expertise. Over time, Petr Dikan constructed several sound devices such as the Sileny Fridrich (SF, Crazy Frederick) Keyboard and the VSD (vsude samy draty/wires everywhere) Generator which he operated during the recordings and also at concerts. At that time, heavily influenced by Brian Eno and Robert Fripp from the King Crimson band, Jarda Zajpt played the guitars, using all kinds of effects, pre-recorded tapes, and one or more interconnected tape recorders. The first record, ‘Israels,’ was produced between 1980 and 1982. In 1985, Jarda Zajpt swapped a guitar for a keyboard and a new member arrived – Pavel Zvolensky – who programmed and played the automatic percussions. Martin Bauer, playing the bass guitar, completed the trio. They have produced a second album, ‘Rhythmus,’ in this assembly. Remastered from unreleased tape recordings. This is the first release in the framework of the project Jupiter 08 – Archeology of the Slavic electronic sound.
A German cooperation. The still quite undiscovered Dircsen has delivered three diverse tracks, ready for all occasions. Credit 00, rolling stone of the east German underground club scene has taken the record to another level with his more experimental rave-ish tape-echoed remix work.
Utrecht based Endfest delivered solid serving of the fat beef. Very fair four tracker full of freaked out melodies underlaid by juicy 808 drums, darkwave electro offered by promising Czech imprint Endless Illusion. First track on the A side “Seaside Suicide” sums it up pretty perfectly in one song. “Fading Trees” is rusty vintage electro-funk that ED DMX would appreciate. On the flip “Palladium” and its exotic synths emulate Middle Eastern music eloquently while sounding like legends Japanese Telecom, in a way. Finally “Skiphol” closes things out in style on this spacey and cosmic little journey track.
Layup is continuing with full-fledged vinyl release on his own imprint Endless Illusion. Opening new series on the label called “W” because of white labels. Whole series is going to be silkscreen on the covers and hand stamped inside.
ENDILL006 goes split. Scottish Stephen Lopkin and Greek DimDJ have delivered quality Detroit informed house tunes straight for the floors, except “Grave Roll” which can be nice opening track. 909 turns 707 and It’s not Endless illusion without proper synth lines.